It’s a pleasant-enough story, but it’s not quite effective as a way to draw young readers into a museum experience
Two animal friends explore the recently renovated grand Rijksmuseum in Amsterdam.
Digging a tunnel, Mole accidentally discovers a beautiful building and brings his friend Monkey to explore the treasures inside. A chase ensues when a guard spots them and angrily shouts, “The museum is closed. And animals aren’t allowed in here!” As the two friends flee, they bump into an ornate 17th-century Delft vase, are helped by the little angel statue called Amor and otherwise encounter more precious works of art. Options include audio narration in English, Dutch, French and German, a choice of visible or invisible text, and automatic or manual page turns. Interactive features are minimal but suitable for young children. This storybook app works better as a charming story than an introduction to the recently renovated Rijksmuseum, though. While the colophon at the end provides young readers with information about each of the famous works of art, the emphasis is on the animal friends’ adventure. Spee’s illustrations capture the essence of the artwork but are impressions rather than realistic renditions, unlike Clara Button and the Magical Hat Day, by Amy de la Haye, illustrated by Emily Sutton and developed by MAPP Editions (2012), which captures readers’ interest with striking photographs of the artwork in the backmatter.
It’s a pleasant-enough story, but it’s not quite effective as a way to draw young readers into a museum experience . (iPad storybook app. 4-8)Pub Date: April 12, 2013
ISBN: N/A
Page Count: -
Publisher: The House of Books
Review Posted Online: June 15, 2013
Kirkus Reviews Issue: July 1, 2013
Continuing to find inspiration in the work of Virginia Lee Burton, Munro Leaf and other illustrators of the past, Long (The Little Engine That Could, 2005) offers an aw-shucks friendship tale that features a small but hardworking tractor (“putt puff puttedy chuff”) with a Little Toot–style face and a big-eared young descendant of Ferdinand the bull who gets stuck in deep, gooey mud. After the big new yellow tractor, crowds of overalls-clad locals and a red fire engine all fail to pull her out, the little tractor (who had been left behind the barn to rust after the arrival of the new tractor) comes putt-puff-puttedy-chuff-ing down the hill to entice his terrified bovine buddy successfully back to dry ground. Short on internal logic but long on creamy scenes of calf and tractor either gamboling energetically with a gaggle of McCloskey-like geese through neutral-toned fields or resting peacefully in the shade of a gnarled tree (apple, not cork), the episode will certainly draw nostalgic adults. Considering the author’s track record and influences, it may find a welcome from younger audiences too. (Picture book. 5-8)
Pub Date: Sept. 1, 2009
ISBN: 978-0-399-25248-8
Page Count: 40
Publisher: Philomel
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 15, 2009
SEEN & HEARD
As ephemeral as a valentine.
Daywalt and Jeffers’ wandering crayons explore love.
Each double-page spread offers readers a vision of one of the anthropomorphic crayons on the left along with the statement “Love is [color].” The word love is represented by a small heart in the appropriate color. Opposite, childlike crayon drawings explain how that color represents love. So, readers learn, “love is green. / Because love is helpful.” The accompanying crayon drawing depicts two alligators, one holding a recycling bin and the other tossing a plastic cup into it, offering readers two ways of understanding green. Some statements are thought-provoking: “Love is white. / Because sometimes love is hard to see,” reaches beyond the immediate image of a cat’s yellow eyes, pink nose, and black mouth and whiskers, its white face and body indistinguishable from the paper it’s drawn on, to prompt real questions. “Love is brown. / Because sometimes love stinks,” on the other hand, depicted by a brown bear standing next to a brown, squiggly turd, may provoke giggles but is fundamentally a cheap laugh. Some of the color assignments have a distinctly arbitrary feel: Why is purple associated with the imagination and pink with silliness? Fans of The Day the Crayons Quit (2013) hoping for more clever, metaliterary fun will be disappointed by this rather syrupy read.
As ephemeral as a valentine. (Picture book. 4-6)Pub Date: Dec. 24, 2019
ISBN: 978-1-5247-9268-8
Page Count: 32
Publisher: Penguin Workshop
Review Posted Online: Feb. 1, 2021
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SEEN & HEARD
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